The Mittster made a speech in Las Vegas on Tuesday and said this:
“In addition to the age of the president and the citizenship of the president and the birthplace of the president being set by the Constitution, I’d like it also to say that the president has to spend at least three years working in business before becoming president of the United States.”
Of course, this is a way to set up the Mitt Romneys of the world to bypass foreign policy, or congressional, or other kinds of experience with a few years of stealing from the 99% to put bucks in their own pockets.
You know, I’d like to see the Constitution say that a presidential candidate should have spent at least three years in the Arts… producing theatre or ballet dancing or doing gallery shows of abstract paintings. Know what I mean?
I’d like to see the Constitution say that a candidate should be required to have taught at a university level for at least three years… or at a primary school level for six…and been a member of a teacher’s union.
Actually, the Constitution should require that the candidate have been an employee for at least three years at a working class level and have been a member of ANY union.
If you think Romney is ready to be President because of his Bain experience, take a look at what it did for his Massachusetts Gubernatorial record… While he says he turned the state around, in reality he let it freeze in a negative mode.
Andrew Sum and Joseph McLaughlin of the Center for Market Studies at Northeastern University reported in July 2007 that Romney’s record as Governor was “one of the worst in the country;”
On all key labor market measures, (Massachusetts) not only lagged behind the country as a whole, but often ranked at or near the bottom of the state distribution. Formal payroll employment in the state in 2006 was still 16,000 or 0.5 percent below its average level in 2002, the year immediately prior to the start of the Romney administration. Massachusetts ranked third lowest on this key job generation measure and would have ranked second lowest if Hurricane Katrina had not devastated the Louisiana economy.
And this was with 25 years of business experience. 25 years.
Makes you think.
Virtually unknown until the Museum of Modern Art featured her work when she was in her seventies. In 1982 New York’s Museum of Modern Art put on a retrospective of Bourgeois’ work. This was the first retrospective the museum had ever mounted of a woman sculptor. In 1993 she represented the United States at the Venice Biennale. In 1999 she participated in the Melbourne International Biennial 1999. In 2000 Bourgeois was commissioned for the inaugural installation at Turbine Hall of Bankside Power Station, opening as the new Tate Modern museum (May 12 to November 26).
“You see, I always hated that woman,” she told The Washington Post. “… My work is often about murder.”
Bourgeois worked until the end of her life… as a matter of fact she was working Saturday when a heart attack hospitalized her.
She was on my Board when I was Director of the Fine Arts Work Center in Provincetown, MA. At he death in 1993, her will created the Rothschild Foundation as a support source for artists.
This update from the NY Times is just a clip… go in and read the whole thing.
At the age of 74, Christo’s wife and collaborator on so many projects (the wrapping of the Pont-Neuf in Paris and the Yellow saffron gateways all over Central Park in NYC are two of them) has died of a brain aneurism.
The NY Times commented on the work they were in the middle of at the time of her death on Wednesday:
Before Jeanne-Claude’s death, she and Christo were at work on two projects: “Over the River,” a series of fabric panels to be suspended over the Arkansas River in Colorado, and “The Mastaba,” a stack of 410,000 oil barrels configured as a mastaba, or truncated rectangular pyramid, envisioned for the United Arab Emirates.
Like all of their projects, these were intended to be temporary, a quality at the heart of the artistic enterprise. Whether executed in oil drum or brightly colored fabric, the art of her and her husband, Jeanne-Claude said, expressed “ the quality of love and tenderness that we human beings have for what does not last.”
I have a personal remembrance from my earlier years in NYC of Christo (and Jeanne-Claude) and their “wrapping” of the Whitney Museum on upper Madison Avenue (it was there that I was soon to do my first production with Ed Roberts of The Hunting Of The Snark.) They covered the entirety of the, then, new museum building with a dull canvas tied with heavy ropes.
I hope Christo is able to continue. I know how hard it is when creative people lose their career-long personal relationships. I feel very sad for him.